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IX 



FANCY WORK 



■fo|)Mii,-lii. l»9B, by J. F. INOAI.I.S. 



PRICP] :^.r) CKIISTTS. 



THE PHELPS PUBLISHING COMPANY 

SPRINGFIELD. MASS. 



INGALLS' MANUAL OF 

rancyWork 

New 1885 Edition! 80 Extra Pages! 



This New Edition has tqz Paiges of Patterns 
and Instructions for KENSINGTON EMBROI- 
DERY, ARTISTIC NEEDLE WORK, etc. 

It has 57 Illustration!, of Stitches, including 
South Kensington, Oulline, Satin, Feather, 
Cross, Persian, Tent, Tapestry, Star, Irish, 
Hem, yanina. Wound, Knot, Chain, Button- 
Hole, Pilling, Ornamental Stitches /or Flannel, 
Stem, Open Work, Ribbon Work, Application, 
Point Russe, Snovj Flake, 21 new Renaissance 
Stitches from Paris, etc. Gives a list of the 
Fabrics and Materials used in Fancy Work ; has 
a fine collection of Artistic Designs, includ- 
ing Table Scarf, Piano Cover, Designs for 
Outline Tidies, Banner Screen, Daisies in 
Ribbon Work, Banner Thermometer, Bro- 
cade Sachet, Tassels for Fringes, Knot- 
ted Fringes, Squares for Patchwork, 
LAMBRK<y;iNs, Butterfly Penwiper, Work 
Bag, Floral Design, Humming Bird and 
Butterflies in South Kensington Stitch, Dec- 
orated Towel, Drawn Work. Bag for 
Soiled Clothes, Mantel Lambrequin, Af- 
ghan for Baby Carriage, RiBBON Book-Mark, 
Tidy Design, Scrap Basket, Fan Pin Cush- 
ion, Splasher, etc. Gives Directions for 
Stamping, Illustrations of our Stamping Pat- 
terns, also of Briggs' Transfer Patterns. 
A list of tlie Colors and Shades to be used in 
working Briggs' Patterns, etc., etc. 

v Wc send this Manual by mail for 18 t wo- 
cent stamps; 4 for $1.00. 



m Kensington* Cmbroidery h^ 



AND THE • 



COLORS OF KLOW^ERS. 



•\ NEW BOOK. ) IvinR the ( 
Lilacs, Clover, Poppies, Jorget-mc- 
of the- Vallcv, Sumac, (ioltlt:! K>m1, 
Innocence, "JPeach Bios- 
Ferns, M'lunuin Ash, > 
Geranium, Blackberry ^ 



in embroidering' It 
IS, Sun Flowers, I 
', Apple Blossom 
,!s, I'itic Cones, Cat-Tails, Wheat, OaLs, Grasses, 
iwbcrries, Pussic Willows, Wild Columbine, Wild 
ipsis. Iris, Colcus Leaves, Nasturtiums, Hardtiack, 
Glory, Geranium, Russian Snow Flower, Love-in-the-Mist, Love- 



Azalin, Flowering Almond, Murni „ ,_ . 

"ies-B!eedintj, CalTa Lilies, Coxcomb, Crncus, Cadtus. Fuschia, Salvia, .Marigold, Carnation Pink, Cherries, 



Bitter Sweet. Taponica. Wild laurel, Chicorv. etc, 

This Book also coniatnx ILLUSTRATIONS and C1.EAR DESCRIPTIONS of the STITCH- 
ES i tells what COLORS look best together f what MA TBRIALS and STITCHES to use in Working 
the Flowers ; how to PRESS EMB^OWERT; how to WASH SILK; and an Illustrattd Chaf''-' -h 
FINISHING FANCY WORK. 

Ladies doing Kensington Kmbroidery, Art Needlework, etc., will iind this book a great help. 

Price, 35 cents ; S225 per dozen. 

INGALLS' HANDBOOK OF CROCHET AND KNITTED LACE. 

It is mil the rage to make TIDtKS and LAMBREQJJINS with TWINE and RIHBON. This lH>.>k 
contains a largf number of HE.VUTIKUL PATTERNS for this work, with Direaions for Working; 
also a number of handsome Thrc;i(l Kdgings, etc. 

Price, 30 cen ts ; S20O per dozen. 

CS^ BOOK OF =s^O 

WORSTED + CROSS-STITCH \ PATTERNS. 

This book contains la ALPHABETS and over loo other PATTERNS FOR WORSTKH WORK . 
Toilet Sets, C'azy Cushions, etc. Patterns of Borders, Corners. Flowers, Birds, Animals, 1'^ 
Stork, Elephant, Deer, Rooster, Bugs, Butterflies, Cats, Dogs, Rabbit Comic Designs, etc. 

Price, 35 cents; 9150 per dozen. 

DARNED LACE PATTERNS. 

Our new book of DARNED LACE P.\TTERNS contains a hirge number of these fine Patterns. 
They Ciin be used for making Tidies, Toilet Sets, Splashers, Shams, Bed Spreads, Aprons, Edgings, etc. 
Price, 35 cents; 8175 per dosen. 

MACRAME LACE ^ and ^. RICK-RACK. 

A book of Patterns and lnstnj«ions for makintr MACRAME I-.ACE and RlrlC-RACK TRI.M- 
MING. This hnok also contains Patterns and Dirc<!lions for makinc^ Border Design for Canvas, Thread 
and^ , Sachet and Pin Cushion, Decorated Band for fancy Work, Corner or Center-Piece 

Spri: Tidy of Ribhoti and Lace, and Toilet Set for Bureau. 

\ us; 90 cents per dozen. 



Address all Orders to J. F. IFGALLS, - Uo. 29 lunroe StKet, Lyan, Mass. 



LADIES' FANCY ^W^ORK. 

ANNOUNCEIVIENT.— " 

J Y a special arrangement with J. F. Ingalls, the leading publisher of Ladies' Fancy Work Books, we are able to present fo our 
[iP subscribers this beautiful Book of Fancy Work. We hope it will give you much pleasure and useful information. By reading 
e advertisements on the cover pages, you will see that J. F. Ingalls has a large variety of Fancy Work Books, Stamping Patterns, 
:amping Outfits, Stamped Felt and Linen Goods, and Fancy Work Materials that he furnishes at popular prices. When ordering 
y goods advertised in this book be sure and send your orders direct to J. F. Ingalls, Publisher, Lynn, Mass. 



V) 



PRICE, -- THIRTY-FIVE CENTS. 



Copyright, 1885, by J. F. INGALLS. 

Publistied for the PHELPS PUBLISHING COJvIPANY. 

SPRINGFIELD. MASS. 



I mQ 



COPYRIGHTED, 1885. 



LADIES' FANCY WORK. 



IKSn 



N presenting this book to our subscribers our object has been to cover as much ground as we could, and to o-ive 
a larger variety of Fancy Work Patterns and Instructions than is given in any Fancy Work Book that has been 
published. This book contains Patterns and Instructions for Kensington Embroidery, Artistic Needle Work, Out- 
|e Embroidery, Knitting Patterns, Crochet Patterns, Darned Lace Patterns, Macram^ Lace Patterns, Rick-Rack Trim- 
pg, Worsted Cross-Stitch Patterns, etc. We give below a partial list of the contents : Terms used in Knitting, Terms 
pd in Crocheting, Descriptive List of the Foundation Fabrics used in Fancy Work, including Cloth Fabrics, Rucr 
iaterials. Silk, Java, Panama, Railroad, Worsted Net, Mummy, Ida and Congress Canvas ; also Descriptive List of the 
jbrking Materials, including Germantown, Berlin and Fancy Wools, Crewel, Zephyrs, Silk Materials, Chenille, Aracine, 
l[)ld and Silver Thread, Oakdale Twine, etc. ; Illustrated Description of Stitches, including South Kensington, Out- 
■ e. Satin, Feather, Cross, Plush, Persian, Tent, Tapestry, Star, Renaissance Stitches, from Paris, including Diamond, 
\arled Diamond, Milan Point, Spanish Point, Feather, Twisted Wheels, Rosette, and Wicker Stitches; also Point 
■esse and Snow Flake Stitches, for Crazy Patchwork; Instructions for Kensington Painting, also for Hand Paintino-; 
111 Instructions for Stamping, including Directions for Making the Powder and Paint used for Stamping. A large variety 
Fancy Work Patterns, including Antique and Grecian Crochet Edging, Patchwork Patterns, Decorated Band for Fancy 
k. Fan Pin Cushion, Design for Piano Cover, some fine Darned Lace Patterns, Design for Tidy or Mat, Outline 
nbroidery Patterns, Ladies' Work Bag, Quilt of Silk Patchwork, Macram6 Lace Patterns, Table Scarf, Whisk Broom 
3lder, Banner Lamp Shade, etc. We hope each of our subscribers will find much in this book to benefit them. 



or 



^^ 



TS— Sfil 



Ds-^r 



TERMS USED IN KNITTING. 

To Cast On. — The first interlacement of the cotton on the needle. 
. To Cast Off. — To knit 2 stitches, and to pass over the second, and so 
on to the last stitch, which is to be secured by drawing the thread 
through. 

To Cast Over. — To bring the cotton forward round the needle. 

To Narrow. — To lessen by bringing two stitches together. 

To Seam.— To knit a stitch with the cotton before the needle. 

To Widen.— To increase by making a stitch, bringing the cotton 
round the needle, and knitting the same when it occurs. 

A Plain Boxv. — That composed of simple knitting. 

To Purl. — To knit with the cotton before the needle. 

To Rib. — To work alternate rows of plain and purl knitting. 

A Loop Stitc/i. — Made by bringing the cotton before the needle, 
which in knitting the succeeding stitch will again take its own place. 

To Slip or Pass a Stitch. — To change it from one needle to the other 
without knitting it. 

"When it is requisite to cast off, and continue a row on a separate 
needle, run a coarse thread through the cast off stitches, as they are 
easily taken up when required. — Household. 



TERMS USED IN CROCHET. 

Chain Stitch. — Chain stitch begins all work, and continues to draw 
the thread through until the chain is long enough. 

Short Stitch. — Keep one loop on the needle, put the needle into the 
stitch and draw the thread through it and the loop at the same time. 

Single Crochet. — Put the needle into the stitch, and draw the thread | 
through it, and then put the thread over and draw through both loops 
together. 

Long Crochet. — Put the thread over needle before you put it into the 
work, draw the thread through work, then thread over and through 
two loops, and again thread over and through two loops. 

Open Crochet. — Make one long crochet, then one chain stitch, and 
omit or.pass over one stitch of the work, make one long crochet into 
ne-xt stitch. 



CRAZY PILLOW. 

A crazy or autograph pillow is a piece of common cotton canvas, 
the size you want your pillow, which you pass around among your 
friends, letting each one work something on it. Each one contrib- 
utes her mite, anything and anywhere she chooses, and when all have 
worked, the owner fills it in, and finishes it the same as any other sofa 
pillow. Some nice patterns for crazy pillows will be found in our 
book of lOO Worsted Cross-Stitch Patterns; price, 25 cents, by mail. 




r^:? 



llililllillilillillliBiailiJISIlIlillBllllIBilillB^^^^ liyiljll«illiiiiiiil»ii«i»*.,,:««iiiiyi«iiiiiiit'n''J«iir iiiiiiimiiiipeaiiiiij 

DEsioN t OR A I'lANu ti>\i;i; (iR r\i;i.r ci.<j1II. 



DESIGN FOR A PIANO COVER OR TABLE 
CLOTH. 

This engraving represents a very handsome design for 
1 table spread, piano cover or stand cloth. The model 
from which this illustration was copied is made on o-arnet 
wool canvas, with a rich, gold-colored floss, and is prob- 
ably as effective a combination as can be suggested. 
However, personal taste, and the prevailing tint in a room 
where the article embroidered is to be used, must direct 
combinations. It is not necessary to use canvas, as cloth, 
felt or Canton flannel maybe preferred; but the meshes 
of the canvas will be found of great assistance in following 
the pattern with regularity of stitch. The work is all 
done in a long back-stitch, or sort of Kensington stitch, 
and is extremelv eflective. 



Stitches ana Foundation Fabrics. 

,\ LIST and explanation of the fabrics and working' ma- 
terials used in embroidering fancy articles, hangings, 
coverings, tidies, etc. Also, directions for and illus- 
trations of various stitches. With the exception of 
two or three, the stitches are all variations of the 
cross-stitch, and are generally familiar, although 
there are many to whom they yet remain an unsolved 
mystery. The Alpha of all stitches is probably the 
"Gobelin," or "tapestry" stitch, but it is one which 
should not be taken up first by the beginner, for 
various reasons. W'e will proceed to describe the 
ordinary stitches. 



FOUNDATION FABRICS. 

In commerce, the word " canvas" embraces certain varieties of fab- 
ric, each with the same predominating characteristic of permitting 
regular cross or single stitches to be made upon it in every direction. 
Of late, many additions have been made, one of which is extremely 
desirable, on account of its texture and width, which renders it suit- 
able for piano and table covers. We refer to 

PLAIN WORSTED CANVAS. 

This canvas is woven of thick wool threads in the ordinary manner, 
two threads of warp and two of woof forming each square required for 
a cross-stitch. It is generally worked in silk, crewel, or filoselle, and is 
not only used for all the ordinary canvas work, but is, as before men- 
tioned, selected for furniture or piano spreads. It comes in all shades 
of red, blue, buff, etc., as well as in black, and occasionally in whke. 
Its widths, like nearly every variety of canvas, are half a yard, three- 
quarters, one yard, and a yard and a half 

SILK CANVAS. 

This canvas is always used for fine work, which is for inspection 
rather than for service, although now and then the sweetheart selects 
it to form an embroidered pair of suspenders for her lover; and in this 
capacity it does very good service, probably from the unfrequency with 
which so dainty a gift is worn. It is generally embroidered in floss 
and beads, or in either alone, and is used for glove and kerchief boxes, 
cases for spectacles, covers for fancy toilette cushions and boxes, and 
especially for bracket lambrequins. It comes in black, white and 
various tints, and requires no " filling in " after the design is worked, 
being a sufficiently handsome fabric in itself. 



JAVA CANVAS. 

This variety comes in cotton and linen, 'and includes the worsted 
canvas before inentioned. As the threads are finer, two are woven 
together, so that four of the warp and four of the woof make the 
square or block marking out the stitch. It comes in all the desirable 
shades, colors and widths, and is used for tidies, mats, sofa-pillows, 
slippers, covers for stools, bags for brushes, shoes, etc. 



PANAMA CANVAS. 

This fabric is straw-colored and straw-like in texture, and forms 
beautiful fancy articles for the table, such as baskets, mats, card-cases, 
etc. It is generally worked in crewel, split zephyr or silk. 

HONEY-COMB CANVAS. 

This is a cotton canvas, familiar to almost every one from the resem- i 
blance its surface bears to honey comb, except that the mesh is square j 
instead of hexagonal. It is worked on the surface with long stitches of J 
single worsted run under the threads forming the square or meshes. 
The worsted run in for the border is cut off or looped up at some dis- 
tance from the edge, to form a fringe. It is used principally for toi- j 
lette sets for bureaus and wash-stands. 

RAILROAD OR NET CANVAS. , 

This is a stiff linen and cotton fabric, in black or white, and woven * 
in a large, open mesh. It requires a double worsted to work with, and ' 
may be filled in for a background or lined. Cross and star stitches are 
principally used for it, but it may be worked in the same way as honey- 
eomb canvas. It is used for tidies and sofa pillows. 

MUMMY CANVAS. 

This is a new variety', presenting the same surface as regular mum- 
my cloth, except that it is woven in close, irregular-looking meshes. 
Even for experts, counting threads will be necessary for regular work 
on this canvas, and therefore it is not advisable for beginners. It is 
handsome, however, and will require no grounding or filling in. The 
color is the natural linen tint, and the fiibric may be worked with 
crewel, silk or zephyr. It is used for chair backs and seats, fancy camp 
stools, cushion covers, sofa pillows and any article requiring a strong 
foundation. 

IDA CANVAS. 

This is a new, unbleached linen canvas, which is woven in loose 
meshes that look as if they had once been embroidered and then had 
the work picked out again. It is just the thing for beginners, and is 
also preferred to the Java for aV purposes. It is worked with single 
zephyr and silk floss. Later, some very handsome designs will be 
given for this canvas, which, like the wool and mummy canvas, is 
also largely used for table and stand spreads. 



CONGRESS CANVAS. 

For delicate tidies, covers, etc., to be done in tine crewel, floss or 
filoselle, this canvas is at tlie present time the favorite. Although it is 
really very strong, being made of hard, twisted linen threads, it looks 
like coarse or heavy tarlatan, without the stiffness of and with the 
transparency natural to the latter fabric. It is ornamented in stripes, 
as follows: — The length required is cut, and a satin ribbon, about No. 
12, is basted through the middle, and one of another color at each side, 
so as to leave four spaces of canvas. The ribbon is fastened down at 
each edge, and at the centre if desired, with fancy stitches in gay flosses. 
A floral pattern is then stamped between the ribbons, and is embroi- 
dered in one of the South Kensington stitches in natural colors with 
silk floss or filoselle. Tassels and the fringed ends of the ribbon finish 
the ends, and the sides are hemmed in a fancy stitch with bright flosses. 
It comes in white, black and all the fancy tints, and is really the most 
dainty of all the canvases of the present. 

FANCY CANVASES. 

Although the two varieties we have to describe are really varieties of 
the plain styles already mentioned, it is, perhaps, as well to call par- 
ticular attention to them by a separate paragraph. One is the Ida, 
which has its surface blocked otT in two-and-a-half-inch diamond 
squares by a Grecian pattern that is woven in- The squares are deco- 
rated in any fancy design in cross and back-stitch, or with appliqueed 
classes, the Grecian effect being left either undecorated or otherwise, 
as the taste directs. This canvas is suitable for tidies, toilette sets, 
cushion covers, chair backs, etc., and is seen in unbleached and cream- 
white. 

The other is a worsted canvas, of which our example is bright scar- 
let. Its squares are one inch and a half in size, and arc separated or 
marked out by inch-wide weavings in honey-comb pattern. The 
squares are worked in either cross-stitch or back-stitch, and in any col- 
ors harmonious with the color of the canvas. For cushions and spreads 
it is very handsome. 

CI.OTH FABRICS. 

Upon regular fabrics all embroidery designs have to be stamped, and 
are generally' worked in over-and-over or back-stitch, with crewel or 



silk, or with both combined. There are .several varieties ; such as 
broadcloth, mummy cloth, felt and French flannel, which latter is only 
an "artistic" rendering of the old-fashioned Canton or cotton flannel. 
Stand, table and piano covers, lambrequins, upholstery and wall-hang- 
ings are all made from these materials, which are soft in texture, rich 
in falling folds, and eminently suitable for any purpose for which they 
are chosen. All the olives, old gold, .nesthetic reds and antique blues 
and pinks are fashionable in embroidery materials for such fabrics, and. 
the latter are principally of an olive, old gold or red color. 

RUG MATERIALS. 

Sack-cloth — better known as coffee-bagging — burlaps and a thick, 
coarse, unbleached canvas are generally selected for rugs. Berlin or 
Germantown wools and double zephyr are the embroidering materials. 
The bordering may be purchased and then embroidered along its head- 
ing and sewed on, or one may be crocheted along the edge. Cross and: 
star stitches are used for rugs. 



MISCELLANEOUS FABRICS. 

In linen, there are scrim, a strainer-like fabric, for curtains; crash,, 
which is made into chair backs, cushions, rugs, spreads and towels, 
with crewel work for the decoration; and heavy linen sheeting, and 
any other linen not having a glazed finish, which arc worked with 
crewel into samplers and decorated napkins, table and bed linen, tidies 
and all sort of fancy coverings. Then there are sail-cloth and fancy 
bed-ticking, Turkish towelling and cricketing flannel, all of which find 
a place on the list of fabrics for artistic needle-work, and are used for 
any purpose seeming appropriate. 



FINE FABRICS. 

The silk and velvet fabrics used for elegant trifles, and for fans, slip- 
pers, etc., are costly, and require an experienced workwoman to make 
a success of the attempt to embroider upon them. Embroidery of floss 
9\W, filoselle, chenille, beads, and gold and silver threads are all neces- 
sary to artistic work, as they are unsuited to the coarser wools and: 
crewels. 



WORKING MATERIALS. 

The proper kind of needle is one of the first considerations upon the 
list of 

IMPLEMENTS. 

Whether intended for silk or worsted, it should have an eye suffi- 
ciently large to allow the strand to pass through easily and without 
fraying, and yet not so large as to crowd the threads of the fabric. For 
all canvas eiiibroidery, choose a needle with blunt or rounded point; 
but for embroidery upon close fabrics, a sharp-pointed needle must be 
used. A silver thimble, worn nearly smooth, or a plain ivory one, is 
considered best for embroidery. In embroidery upon satin or silk, two 
thimbles are used, one upon each hand. 

In large pieces of work, and in some small ones also, it will be found 
necessary to use a frame. A frame like tliat of a slate, made of the 
desired size, is nice. Two hoops are often used, one large enough to 
slip on over the other after the latter is covered with the fabric. 

The scissors should be small, very sharp and finely pointed. For 
cutting skeins of silk or wool into proper lengths, round-pointed shears 
are best. 

In some of the finer designs it will be necessary to pierce small holes, 
and for this a bodkin is needed. 



There are three kinds of this familiar wool — double, single and split, 
containing respectively eight, four and two threads. The double and 
single are very slightly twisted together, so that the strands can be 
divided for embroidery. The two strands of split zephyr are twisted as 
closely as crewel, and this wool is used principally for crocheting. 

GERMANTOWN .\ND BERLIN WOOLS. 

There is very little difference between these two varieties, each con- 
sisting of four strands of wiry wool twisted together a little more firmly 
than zephvr, but having more of the crewel finish. They are used 
principally for embroidering burlaps and canvas rugs, and for knitting 
spreads, house-sacks and shawls. 

Shetland floss, which resembles these wools, but is softer than either, 
and Shelland wool, with which every one is familiar, may also be in- 
cluded under this head, as both are used for knitting shawls. 

SAXONY YARN. 

There are two kinds of this yarn — the " two-thread " and the " three- 
thread," each twisted very closely. It comes in all shades, and while it 
is sometimes used for cross-stitch on canvas tidies, etc., it is principally 
used for crocheting lace, shawls, sacks, etc. 



Away back in our childhood, crewel was simply penny skeins, or 
■what we now call single zephyr, and though it worked softly and shaded 
beautifully, it is not so well adapted to artistic work as English crewel, 
■which looks like coarse but even Shetland wool. It is composed of 
two closely-twisted strands of a soft and glossy, yet slightly wiry wool. 
This lustre acts as an agent in shading, so that a leaf or petal done 
flatly and in but one tint changes its shadows or shades with every 
reflection of the light. This quality is considered one of its chief 
charms. It works in as easilvand as prettily as silk, and is always used 
for satin stitch or a long back-stitch. It comes in all tints of every 
shade, and is sold by the skein in small quantities and by weight in the 
larger ones. 



rANCY WOOLS. 

Pompadour wool comes in all shades, and is, like split zephyr, very 
loosely over-wound with a Rne-strand Jiloselle silk or floss. 

The newest thing is "frosted" wool, which is extremely handsome, 
and comes not only in all the delicate tints but also in the cac/temt'ieOT 
metal effect. The latter, of which we have a sample before us, consists 
of three very fine strands of black wool, each wound with a minute 
crimped wire of metal, two of the wires being gilt and one copper color. 
The effect is that of a string of very fine rainbow beads. The pale tints 
of blue, rose, cream, etc., are wound with silver tinsel, and the yellows 
with gilt. Care must be exercised in working it. as it will not pass 
through any but large-meshed canvas. It can be laid on the surface 
with the same effect as satin stitch, and fastened down with silk stitches. 



SILK MATERIALS. 

Saddler's silk, embroidery silk, floss and Jiloselle are the four varieties 
in use. The first is used a great deal tor fringes and chain-stitch 
■embroidery. The second is used for the main portion of any design, 
and may be intermingled with floss to soften the edges of leaves and 
petals. Filoselle is a coarse, untwisted silk, composed of several 
strands of very slightly twisted threads. It is sometimes used in place 
of embroidery silk, especially in designs where large blossoms predom- 
inate. It shades prettily, and makes a satiny surface that is very hand- 
some. It comes in skeins, like the other varieties. 



CHENILLE. 

For embroidery, chenille is very fine, and must be cut in short 
lengths, as it soon pulls out by drawing it repeatedly through any 
fabric. It is effective for portions of a design, but is not durable for 
anything that is to receive wear. 



ARACINE. 

A new material used for working large coarse leaves and flowers, 
also used in combination with Rococo or Ribbon Work. 



GOLD AND SILVER THREADS. 

Gold and silver threads come in several varieties, and, judiciously 
used, add a very charming effect to embroidery. 



COLORED BEADS. 

Colored beads are very effective in embroidering, and may be pur- 
chased so as to shade as handsomely as wool. Aside from these, sev- 
eral varieties of pearl beads, together with gold, steel and the rainboTT 
kind, greatly enhance the effect of many patterns. 



FLOSS AND CREWELS. 

Floss and Crewels are used for Kensington Embroidery. 

CHENILLES AND ARACINE. 

Chenilles and Aracine are used for Pansies, Sumach, Golden Rr J, 
etc., with the same stitch as the Kensington Embroidery. 

EMBROIDERY SILK. 

Embroidery Silk is used for Flannel Skirts and all kinds of laid 
work. 

ETCHING SILK, EMBROIDERY COTTON AND FINE ART CREWELS 

Etching Silk, Embroidery Cotton and Fine Art Crewels are u.sed 
for Outline Work. 

" OAKDAI.E " TWINE. 

Oakdale Twine is used in combination with Ribbon for Tidies and 
Lambrequins. For full information about Twine Tidies see our large 
Price List of Books, Outfits, etc. 

LINEN AND EMBROIDERY CRASH. 

Linen and Embroidery Crash are used for Splashers, Tidies, Tray 
Cloths, etc. 

FELTING. 

Felting is used for Table Scarfs, Covers, Tidies, Lambrequin; , 
Portieres, etc., great variety of colors. 



We furnish all of these goods. See PRICE LIST OF MA- 
TERIALS on the Cover of this Book; also on our Large Price Li i. 






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SOUTH KENSINGTON STITCH. 

At South Kensington, Eng- 
land, some ladies of the no- 
bility have established an art 
school, in which all styles of 
needle-work, antique and 
modern, are taught. One or 
two of these stitches have 
'aken quite a hold upon the 
affections of the embroidery- 
loving woman, and for the 
want of a better name each 
is called " South Kensing- 
', ' ! ton Stitch." It will thus be 

.' ' seen that the article "a" is 
lillllililiil!' JllillliiyiliS the appropriate one to use, 

and not " the." since tliLic is more than one stitch belonging to the 
South Kensington School. The stitch, however, which has gone abroad 
in printers' ink as the South Kensington, is clearly illustrated by 
the engraving. It will be seen that it is nothing more than a back- 
stitch, the stitches being made to fit in between each other with no 
special regularity, except to produce perfect shading. The outline of 
the design is stamped, and must be perfectly even w-hen worked; but 
the interior of the petal or leaf is to be filled in according to the shape, 
and shaded to the taste, or the pattern if there be one to copy. Eng- 
lish crewel is the proper working worsted for this stitch. Another 
stitch, known in the school mentioned as the '■ Stem Stitch," is here 
called the " Outline." 



Snow Flake Stitches. (For decorating Patchwork.) 



-*- 



^^-^l^^ 



H-*- 



SOUTH KENSINGTON OUT- 
LINE STITCH 

It cannot be clearly ex- 
plained in words, but 
may be comprehended at 
once by inspection of the 
engraving. It forms an 
tinbioken outline, which 
appears like a finely 
iwisted silk cord. It is 
\cry effective on satin, 
and is used for such de- 
__^^^ signs as statuary with 

! ^ - — - — ' flowing draperies, Cupid, 

game, etc., looking when 
finished, like a fine pen and ink drawing. One panel done on old gold 
satin, with dark olive embroidery silk, is exquisite. There is no filling 
in or shading; it is simply the outline that is followed; and also the 
strokes which would be made with a pen to represent drapery, or any 
of the other details of an unshaded sketch. It is very effective in fo- 
liage, butterflies, animals, etc., and may be made on almost any article 
of fancy work, as well as used for marking linen. 




S.\TIN STITCH 



Is done in all sorts of flosses, embroidery silks, zephyrs and crewels, 
and upon silk, satin, velvet, cloth and canvas. The pattern must be 
■stamped and then " run" along all the lines with silk or worsted, and 




DESIGNS FOR FEATHER STITCH. 



each leaf and petal, if of 
good size, must be crossed 
and recrossed with the 
same, all before the reat 
embroidery begins. There 
must be no break in the 
edge of a leaf or petal, and 
^ consequently each stitch 
,1^3 must be carefully and even- 
ly set. In leaves, such as- 
the one shown in the illus- 
tration, the center is defined 
by the meeting of the stitches, 
which mu.st be exactly even. 
Satin stitch is simply an 
over-and-over stitch, and 
generally both sides of the 
work look almost equally 
well. 



DESIGNS FOR FEATHER 
STITCH. 

These two designs are 
very pretty for fastening the 
edges of ribbons or strips 
of contrasting fabric to posi- 
tion, or for outlining bor- 
ders, hemming flannels and 
embellishing fancy work 
generally. It is done by the 
chain stitch movement, and 
is verv simple. 



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SUAII 



CROSS-STITCH. 

This is the first to be learned in doing 
canvas work. It is made by a back- 
stitch movement, with the needle always 
pointing to the left, as will be observed in 

_ the illustration, except sometimes in 

CROSS-STITCH. changing the direction of the design. 

Of Java or ordinary canvas two threads each way is the limit for the 
stitch, one-half of which crosses diagonally from left to right and the 
other half in just the opposite direction. Each stitch is completed 
before the next is commenced, although in some instances a line of 
half-stitches may be made from left to right and the other halves fin- 
ished in the opposite direction. The result is the same, but the effect 
is not so smooth, and conseouently not so accurate. 

PERSIAN CROSS-STITCH. 

It is said that in the irregularity of this 
stitch, and the Oriental colors selected 
for it, consists its beauty when it covers a 
design. By varying the length of the 
stitch, almost any design may be copied. 
The silk or worsted is carried across two 
threads of the ground for the first half of the stitch, and is then 
brought up between the two threads and the cross is made over the 
upper half of the long stitch. The illustration will clearly explain 
the method and effect. 

TENT STITCH. 

This is simplv a short stitch made over 
a single crossing of the canvas threads 
and all slanting from right to left, four 
tent stitches occupying the space of an 
ordinary cross-stitch. It produces a very 
TENT STITCH. fine grounding, and must be carefully 

and evenly done. The movement is the same as in the tapestry stitch, 
as will be seen by referring to the engraving, which illustrates " tent " 
stitch perfectly. 




PERSIAN CROSS-STITCH. 





TAPESTKY hTlTCH. 

It is in this stitch tliat the old hangings- 
and pictures, now so valued from their 
antiquity, were made. Although very 
simple, only those having some knowl- 
edge of the art of painting should at- 
tempt anything in this stitch, as the shad- 
ing must depend upon the eye and not 
upon a counting of the stitches. Many 
TAPESTRY STITCH. of the old designs were painted upon the 

foundation canvas, which was of great assistance to the worker; and 
we presume that some of the decorative art societies who are "making 
a revival of Gobelin tapestry a specialty, would be able to furnish the 
same style of design. An artist in tapestry work can copy accurately 
from an oil-painted picture, with only the eye directing the coloring 
and shading. As we have before mentioned, four threads of canvas — 
two each way — mark out the space of one ordinary cross-stitch, and 
in this space two tapestry stitches are made. They are worked from 
left to right, crossing four threads in height and one in width, with a 
back-stitch movement, bringing the needle out toward the worker at 
the bottom of the line upon which she is working. The picture illus- 
trates clearly the effect and the method of making tapestry stitch. 



STAR STITOH. 

There are four varieties of 
this stitch, which is seldom 
used to delineate a design, un- 
less upon coarse net or rail- 
road canvas, for which the or- 
The illustrations delineate it 
very plainly, making it unnecessary to give a special description of it. 




STAR STITCH. 

dinary cross-stitch is not heavy enough. 



RENAISSANCE STITCHES FROM PAUIS. 



RENAISSANCE STITOMES FROM PARIS. 



DIAMOND STITCH. 

No. 3. — A kind of net stitch. It 

is very simple; you make at each 

net stitch going and coming three 

button-hole stitches very near to- 

_gether. 




THE PEARLED DIAMOND 
• STITCH. 

No. 4. — This stitch comes from 
the preceding one. After making 
three button-hole stitches beside 
each other, from left to right, you 
bring the needle back, then you 
make a button-hole stitch from 
right to left oyer the loop. In re- 
turning the contrary effect is pro- 
duced, and the needle should pass 
in the loop. 




MILAN POINT. OR STITCH. 

No. 7. — You make the returning 
row with diamond stitches, that is 
to say you make three little festoons 
beside each other, but these should 
be graded as in crochet work, 
then turn the thread several times 
around the needle as the design 
indicates. 



SPANISH POINT, OR .STITCH. 

No. 8 —This stitch is only the 
tulle or net stitch with the net a 
little more elongated ; it is done by 
making a turn or a knot of the 
thread: you pass the needle in this 
turn after having put it through 
the net of the preceding row. 





RENAISSANCE STITCHES FMOM PABIS. 



RENAISSANCE STITCHES FROM PARIS. 



FEATHER STITCH (PART 
SECOND). 

No. II. — Make the needle after- 
ward to enter beside the stitch 
made, at its right, instead of this 
extended or held thread, which 
■hould then pass over the needle. 





ROSETTE STITCH. 

No. 13. — Make at first a net 
stitch from right to left, then in 
going, instead of passing at once 
from one stitch to another, at 
the place where the threads cross, 
^ou turn alternately in passing 
the needle over and under each of 
these cords coming back. You 
place the thread in the loop as in 
the net stitch ; the square forms 
naturally. 



II. 



13- 



TWISTED WHEELS. 
No. 12. — This is very much used 
at present and is found in net and 
in English needle-work. You make 
at first six or eight branches accprd- 
ing to the space you wish to fill. 
You start from the centre and re- 
turn always upon the thread like a 
snail, you go from one branch to 
another making a stitch over each 
of them. 





THE WICKER STITCH. 

No. 14 — For this stitch, which 
is a kind of macramfi stitch, you 
make around a great festoon or 
button-hole stitch going, and two net 
stitches in each large stitch return- 
ing, you pass the thread straight 
across in returning and then in go- 
ing from left to right again you make 
a net stitch in each loop including 
the extended thread. You begin 
again a large loose stitch in every 
other loop. The needle should 
pass under not over the extended 
thread. 



14. 



INSTRUCTIONS FOR PATCHWORK. 











POINT RUSSE STITCHES. 



INSTRUCTIONS FOR PATCHWORK. 



YaI <:> 



SNOW FLAKE STITCHES. 



INSTRUCTIONS FOR PATCHWORK. 




SNOW FLAKE STITCHES. 




POINT RUSSE STITCHES. 




TABLE SCARF. 

A HANDSOME scarf, as appropriate for a mantel, piano> etc., 
as it is for a talilc, is here illustrated. It is made of felt cloth, 
edged at tiie ends with a fringe formed of heavy silk tassels 
alternating with large plush pendants. A little ahove the fringe 
is applied a broad band of Crazy Patchwork embroidery, 
formed of three blocks of Patchwork, separated by bands of 
velvet ribbon applied and decorated with a variety of fancy 
stitches done with mixed colors of embroidery silk. Border- 
ing the band on each side is a row of wide velvet ribbon, 
blind-sewed on. The blocks of Patchwork may be very dif- 
ferent ill appearance. The cloth may be of any color desired, 
and the velvet ribbon may be alike or contrast in color. Any 
kind of fringe preferred may be substituted for that illustrated. 





PATTERNS FOR STAR PATCHWORK. 



STAR PATCHWORK. 




BLOCK PATCHWORK. 




PATTERNS FOR BLOCK PATCHWORK. 



i-^^^f®ir^^ 



Decorated Band for Fancy Work. 



This band may be made of plaid silk or velvet ribbon, and is used to separate 
-the strips of embroidery upon tidies, cushions, or anv little fancv article requiring 
«uch an accessory to its component parts. The engraving shows how the stitclies 
are made, and where they are located. The silk used for making them is of the 
gayest colors. This decorated band will also give you some ideas for working the 
•edges of the Crazy Patchwork. 



INSTRUCTIONS FOR PATCHWORK. 



DECORATED BAND FOR FANCY WORK. 



BANNER LAMP SHADE. 




BANNER LAMP SHADE. 



This engraving represents a lainp shade that is considered verv 
stylish, and may be purchased ready made or manufactured at home. 
The rod and hook at the top may also be bought separately at most 
fancy stores, or the local tinsmith or carpenter will be able to make 
the support from an inspection of the design. The banner rod is gen- 
erally made from six to eight inches long, according to the size of the 
lamp it is to hang on ; and the hook is a piece of wire, whose ends are 
fastened to the rod, while its centre is bent to form the hook. The 
shade is composed of two tints of satin, cut in one wide strip for the 
middle and a narrow one for each side. Or, two widths of satin rib- 
bon may be used, the edges of the middle strip fastening smoothly 
over those of the sides. The middle strip is embroidered in silk 
flosses in .South Kensington stitch, and its lower edge forms a deep 
point, while the ends of the side strips define half points. The lower 
edge is trimmed with narrow fringe, and a tassel is sewed to each 
point. A fancy facing of velvet is applied to the top of the shade, and 
a lining of pale or bright silk or Silesia is added. The banner is 
fastened to the rod under tiny bows of ribbon. The colors may be in 
accordance with personal taste, and yet not inharmonious with the 
other coloring in the room whei'c the lamp is used. A charming 
variety is attainable, even under the observance of the latter condi- 
tion. 




DESIGN FOR A TIDY OR MAT. 

The South Kensington stitch in one of its many forms is lierc used. 
Three shades of red are used for the Grecian outline, and the shades 
are so distributed that sometimes the darkest is the outer thread, and 
•sometimes the lightest, as will be seen by referring to the engraving. 
The stitches crossing the corners are in ■' new gold " silk floss, and the 
■daisies are in pale olive and dull blue — the former being inside the 
Grecian outline and the latter outside. Each daisy is also outlined 
with the floss, and the leaf at the corner is made of the three shades 
•of red and the floss. Any other combination of colors preferred may 
be used. The design is suitable for sofa-cushions, etc., as well as for 
the purposes inentioned in the title. 



Banner Thermometer. 
— A slight foundation of 
pasteboard constitutes the 
background of this ban- 
ner, which is of dark 
green plush embroidered 
in scarlet berries and foli- 
age with filoselle. The 
thermometer is then se- 
curely glued on, in the 
position represented, and 
balls of silk of the color 
of the plush are fastened 
at the lower edge to form 
a fringe. Suspending 
ribbons, fastened to the 
sides a slight distance 
from the top under loops 
and ends of similar rib- 
bon, meet at the proper 
distance and are tied to- 
gether in a graceful ar- 
rangement of loops and 
ends. Chenille or silk 
cord may be substituted 
for the ribbon, and hand 
painting or a fine decal- 
comanie for the embroid- 
ery, though the latter is 
the most eflfective and 
decorative. 





FIGURE NO. I. FAN PIN CUSHION. 

Figures Nos.i & 2. FAX PIN CUSHIONS. 

These dainty little affairs are given in tlieii- proper sizes, and may 
hang up at one side of the dressing-case. Or. if the cords and tassels 
be omitted, they will serve as pretty pocket cushions for gentlemen. 
The cushion foundations are each covered with card-board and over- 
laid with silk, two pieces of card-board being necessary for one fen. 
The two pieces, after being overlaid, are over-handed together. The 
fan represented by figure No. i has one side overlaid with plain satin, 




•*!''.,./! ''•<^'' ■••**^" Wn. 




FIGURE NO. 2. FAN PIN CUSHION. 



while on the other side appear two shades, joined by a cross-seam, and 
decorated in a sketchy-looking stitch with silk floss. The other fan is 
overlaid with plain silk, and decorated on one side with two shades of 
floss, to represent the effect of the foldings of an ordinary fan. Its 
reverse side is left plain. Long stitches of floss represent the sticks, 
and a fine cord of floss, with tasseled ends, completes the point of 
the fan. 




OUTLINE EMBROIDERY. 

Outline Tidies worked witli coarse etching silk on embroidery crash 
are verv popular. They are easy to make, and look nice on chairs. 
[For directions for making the outline stitch, see South Kensington 
outline stitch in this book.] The tidies are improved by fringing the 
ends, after working them. We have a fine collection of outline perfo- 
rated stamping patterns for tidies and splashers. We also furnish the 
tidies and splashers stamped on crash, already to work. [See price 
list of outline tidies and splashers.] 

If embroidery is new to you, the outline work is best to commence 
on, as it is much easier to make than the Kensington embroidery, and 
requires no shading. Crazed designs worked in outline are new and 
popular, they are used mostly for tidies. The center figure is worked 
with etching silk, the crazed lines worked with mixed colors of em- 
broidery silk. The "waste" embroidery silk that we sell in short 
lengths, mi.\ed colors, is the best and cheapest to use in making these 
crazed designs. 

The crazed design for tidies on the next page will make the above di- 
rections plain. The pansy design for sofa pillow can be worked all in 
outline, or work the pansies in Kensington stitch, using the pansy 
shades of floss and chenille. W'ork the leaves in outline, green shade, 
and the crazed lines in mixed colors of embroidery silk. If you prefer, 
you could work the pansies with the plush petals. 

We have a fine line of Tidies and Splashers stamped on Fringed Linen 
Tidies, 45c. each ; Splashers, 60c. e.ich. Send stamp for Price List. 






r 






OUTLINE r.MBKUIDERY DESIGN. 



PLUSH STITCH. 
To make the pliisli stitch, first fill in the flower witli French tcnotp,, 
ueing the prevailing color, then (using button-hole tii'ist) bring the- 
needle up between the knots, lay a doubled strand of filling floss on the 
face of the work against the needle ; take the needle down about in same 
place it came up, but from the otlier side of the filling floss, so that 
when drawn down the stitch has caught the filling floss, about a quarter 
of an inch from its end; draw the stitch down tightly, which will cause 
the ends of the filling floss to spring straight up; clip them oft" with a 
very sharp pair of scissors. This completes one stitch. Repeat for at 
many stitches as are required to cover or nearly cover the knots. This, 
stitch can be used for making sumach, coxcomb, golden rod, etc. 



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CROCHET PATTERNS. 



CROCHETED ANTIQUE LACE. 

Chain of twenty; turn, four long stitches in the nineteenth chain, nine open crochet, chain 
of four turn long stitch in second long stitch, seven open crochet, two long stitches in ninth 
open crochet, long stitch in the first long of the shell of first row, chain of one, tour long m 
the fourth long of the same shell, chain of twelve, turn, three long in the three chain nearest 
the last shell: one long in the first long of last shell, chain of five, one double long in open 
crochet chain of five, shell of four long, as former row, seven open crochet, chain of four, 
turn, long stitch in second long stitch, five open crochet, three long, chain of five, double cro- 
chet'in fifth chain, double crochet in double long, double crochet in first chain, chain of five, 
lono- stitch in the last long stitch of shell, three long in the loop; chain of twelve, turn, shell 
of four long, chain of five, double stitch in fifth chain, four double stitches, chain five, shell 
of four long, five open crochet, chain of four, turn ; crochet long stitch as former row, three 
open crochet, three long, chain one, shell of four long, chain of five, three double crochet 
commencing in the second double of former row. chain of five, shell of four, chain of one, 
shell of four, chain of twelve, turn, shell of four, chain of five, one double long in open cro- 
chet, chain of five, shell of four, chain of five, one double long in second double stitch, chain 
of five, shell of four, chain of five, double long in open crochet, chain of five, shell of four, 
three open crochet, chain of four, turn as former row: one open crochet, shell of four, chain 
of five, three double, commence in fifth chain; chain of five, shell of four, chain of one, shell 
of four, chain of five, three double as formerly; chain of five, shell of four, chain of twelve, 
turn, shell of four, chain of five, five double as former wheel; chain of five, shell of four, 
chain of five, five double, chain five, shell four, open crochet, chain of four, turn, as former 
row; one open crochet, shell of four, chain of five, three double crochet as former wheel; 
chain of five, shell of four, chain of one, shell of four, chain of five, three double as former 
wheel; chain five, shell of four, chain of five, turn, shell of four, proceed as printed pattern. 



CROCHET PATTERNS. 

GRECIAN EDGING. 

Chain of thirty-six stitches. 

First Row. Long crochet into sixth stitch, long crochet into next three.^cliainof two, 
skip two, long crochet in next stitch, repeat from — four times; long crochet in next four 
stitches, three open crochet, chain of eight. 

Second Rota,'. Long crochet into second long crochet, two open crochet, fifteen long 
crochet, one open crochet, three long crochet, one open crochet. 

Third Ro-v. Chain of four, four long crochet, one open crochet, three long crochet, 
three open crochet, tliree long crochet, two open crochet, twelve long crochet into chain of 
eight. 

Fourth Row. Chain of three, one long crochet into first of the twelve, — chain of two, 
skip only one, long crochet into next, repeat from — five times; two open crochet, — three 
long crochet, one open crochet, repeat from — three times. 

Fifth Ro-M. Chain of four, four long crochet, three open crochet, — three long crochet, 
one open crochet, repeat from — ; two long crochet into the space, — chain of two, two long 
crochet into space, repeat from — six times. 

Sixth Row. Chain of four, — three long crochet into space, chain of five, one long cro- 
chet back into last of three long crochet, repeat from — four times ; — three long crochet, 
chain of two, repeat, one long crochet, one open crochet, three long crochet, one open cro- 
chet, fifteen long crochet, one open crochet. 

After first scallop join to preceding scallop every third and fifth row. 





lady's work bag. 



lady's work-bag. — qUILT OF SILK PATCH-WORK. 



LADYS WORK-BAG. 

This work-bag is oasilv made, and is a treasure when completed. Its foundation is three 
pieces of pasteboard, straight across their upper edges and oval at the bottom. Two of tliem, 
which are first smoothly covered with satin, form the bag, being joined together at their 
rounding edges by a fulf puffing of satin, which is sloped off so as to be considerably nar- 
rower at the corners than at the bottom. Upon the outside of one of the pieces of pasteboard 
are sewed three pinked leaves of Hannel in ditlerent colors for a needle-book, and one side 



.^u.^ .^v.w.» ..^..., - „d-po ...^ ... 

.-.luc. .1 iiiiii. H..H.JJ.. ..,,..i.w. .-..^ ..- sewed inside the edges of the bag-opening and ribbon 
strings are fastened at the corners to hold it, and their ends are tied in a bow. A bow is also 
fastened at the top of the sinnilated bag. The eftect is very rich when plush is used for cov- 
ering the sides and silk for the puffing. Cashmere in pretty colors may, however, be used 
with very pleasing results, 

QUILT OF SILK PATCH-WORK. 

Tlie quilt illustrated is made of light and dark blocks of silk cut and joined as illustrated. 
The blocks mav be as large or as small as the maker likes or her material allows, and, of course, 
the size of the quilt is a matter of personal calculations, according to the dimensions of the 
bed it is to cover. The border consists of two shades of brocaded ribbon flatly joined, and 
the corners are squares of silk or satin embroidered by hand in tioral designs. The lining 
should also be of silk, but may be of fine muslin or Farmer's satin. 




\ 



qi'ILT OF SILK PATCHWORK. 





DARNED LACE PATTERNS. 





DARNED LACE PATTERNS. 





DARNED LACE PATTERNS. 






DARNED LACE PATTERNS. 



^a^ IIsISTRUCX IONS FOR^^ 



^|f KENSINGTON PAINTING. ^ f 



T/®ENSINGTON PAINTING is done with a stirt" pen, instead of 
lY a brusli. Tube paints are used, just as thiey come in tlie 
tubes. To do the painting, von first stamp the design to be 
painted, the same as for Kensington Embroidery, using care not to 
get the lines too heavy- 
Holding the pen bottom up, scoop up some paint in the hollow 
of the pen; wipe the back of the pen with a piece of cloth. Now 
draw your pen, with back to the material, over the outlines first, 
then fill in the design; shade as your taste dictates. Begin at tlie 
edge, and paint toward the center. The object in Kensington 
Painting is to make the painting look like Kensington embroidery. 
To accomplish this, scratch the design over with the pen or a needle, 
remembering to make the lines run towards the center, taking care 
to give it the appearance of the Kensington slitcli. 

Our new book, Kensington Embroidery and the Colors of Flo-v- 
ers, gives the correct colors and shades to be used. See advertise- 
ment of this book. 
Terms Used: — Daisy Strol-e and Itolls, 

Daisy Stroke is made by scooping up the paint on the inside of 
tlie pen, then touching the point to the end of the petal, flattening 



out the pen a little, and drawing it down to the center of the tlower,. 
thereby leaving a roll of paint on each side of the petal. 

Rolls are made by taking the paint in a little roll on the edge of 
the pen, place the other edge of the pen near the outer edge of the 
petal or leaf, and bring the paint down upon the stamped edge, 
leaving it there in a roll. The paint has to be taken sometimes up- 
on one edge of the pen, and sometimes on the other, according to 
the side of leaf or petal to be rolled. 

To make Roses, Poppies and Buttercups, take tlic paint 
on the right side of the pen, and make a roll around the petals, 
commencing at the center of flower, following the edge around to 
center again, and so on until you have a roll of paint on the edge 
of all the petals; then smooth the roll with the point of the pen, 
and fill petals smoothly with paint, working from edge of petals 
towards the center of flower; shade and make stamens; when the 
petals are turned up, as is the case witli many blossoms, roll that 
part which would be the outer edge if turned down, and have no 
roll on the turn. 

Pinks are made by filling in with daisy strokes, putting three or 
four in each petal, making those on the outer edge first. Varie- 
gated pinks are made by having three or four shades of pink, rose 
madder, and white, making a stroke of each in their turn, or they 
may be made by rolling each petal, filling in smoothly, and shading 
with darker color. 

In making Azalia.s, Pond Lilies and other flowers having 
pointed petals, begin at the point to roll, putting a roll of paint on 
right edge of pen to roll right edge of petal, and on left edge to roll 
the left. 

Cat-tails, Forget-me-nots, and Lilies-of-the -Valley 
have no roll, but are painted smoothly. 

Thistles are made by filling in with fine lines, made with the 
point of the pen, of shades of pink, rose madder, and white. 



Cjrolrto;! liixl : Tluee f-liudc^ of'vellow; first king';* vellow. sec- 
ond kin;4's vellow and orange cliiome mixed, third orange chrome. 

Paiisy : Rose madder and bkie mixed for dark petals ; white, 
Naples vellow and a. little bine mixed for light petals. 

Japan T.;ily; Scarlet lake and white mixed. Shade down to 
■white on end of petals. Spot of rose madder on them. 

Cat-Tails: Burnt sienna shaded with king's vellow. 

Clematis : White blossoms with yellow center and stamens. 
Leaves zinnober green No. i clear, and mi.\ed with king's yellow, 
light shade. Shade them with burnt sienna, king's yellow and 
yellow ochre. 

Water Lilies: White shaded with a little black. Make rolls 
for veins on leaves, yellow ochre, for under side of leaves, and 
vein with red if under side shows enough. 

Azalias: Scarlet lake and white, mixed. Shade with rose mad- 
der, light pink stamens. 

FucU.sia: Rose madder and very light shade of pink for light 
ones. Rose madder or crimson lake and blue, with crimson lake 
for outside part for dark ones. 

Woodbine, Antuniii Coloi'S : Crimson lake, scarlet lake 
and \erMulion, ^vith greens and king's vellow. Work them together 
so as to blend. Vein with red and burnt sienna. Roll with red 
occasionally. 

Thistle : Rose madder and white clear. Rose madder and 
white mixed. Leaves, zinnober green No. 2 and chrome yellow 
for dark shade: green No. i and king's yellow for light shade. 
"X'^ein with light green. 

Owls: White, burnt sienna and burnt umber, mixed: light 
shade for under the wings. Shade feathers under the neck with 
yellow ochre. White and black for small owls. 

Boughs of Trees : Three or four shades of green, burnt 
umber, light red and black. Go over in curves first with black, 



I'aiisies have rolU :uoiind each petal: rose madder and Ant- 
werp blue, mixed makes a good shade for dark pansies, and white 
with a little king's yellow for light ones: put small spot of green in 
center, little white around it, and orange in lower petal, spots of 
purple on light petals. 

(Jolden Rod: Take three shades of yellow; with lightest put 
(lots on the outer edge, then with the ne.xt shade, after that with 
the darkest, and so on until it is filled. 

Sumac is made the same as the golden rod, taking two or three 
shades of red .and dotting them on, putting darkest on outer edge of 
circle: crimson lake for darkest, and same color with little ver- 
milion for the next shade. 

■ AVIieat Heads are filled in with daisy strokes of Naples vellow. 
Grasses are made with two shades of green, with occasionally a 
little vellow ochre and king's yellow. 

Green LiCaves : When making serrated leaves, such as rose 
leaves, clematis, woodbine, etc., roll each section separately, and 
jnit in a little roll to form the point, paint with two shades of green, 
usually made by mixing zinnober green with burnt sienna for dark 
shade, and same green with king's yellow for light; shade darkest 
side with burnt sienn:i, and lightest with king's yellow; vein with 
Caledonian brown, king's yellow, or yellow ochre; after veining, 
extend the rolls a little towards the center of the leaf Leaves -uith- 
out indentations, such as those of the azalia, golden rod, etc., are 
rolled on velvet, felt and satin (except the very small leaves, which 
are made without rolls), but not on plush; they are shaded and 
veined same as the above. Long and slender leaves, such as those 
of the pink, have no rolls, but are painted smoothly, and veined 
lengthwise of the leaf Thistle leaves are shaded quite dark in the 
center, and veined with light green, the thorns arc made with vel- 
low ochre. 

When there are ii great many leaves in a piece, as in a large 



spray of clematis, for variety shade one witli yellow ochre and 
burnt sienna, another with king's yellow and burnt sienna, and still 
another with king's yellow and yellow ochre ; vein with king's yel- 
low, yellow ochre, and burnt sienna, or Caledonian brown; when 
one leaf seems to be in the shadow of another, shade it dark, and the 
one above it light. 

Fine Tjilies, Steins, and A'eillS are made with the point of 
the pen. 

Grceii.s for Apple f..eaves: Yellow ochre and Antwerp bine 
mixed. 

Olive <i-reens should be used for pond lily leaves. [See mix- 
ing of paints on list.] 

In painting Owls make daisy stroke for long feathers on wings, 
tail feathers, ami feet, with long black claws. To make a long 
daisy stroke, take considerable paint, and after putting the point 
on the end, gradually pull the pen the whole length, thus spreading 
the paint. Make small curved rolls on upper part of wing and 
lower part of breast, filling in between them with smooth paint; on 
upper part of breast put rolls on stamped lines; shade feathers just 
under neck with Naples 3'ellow on brown owls, and with ivory black 
on grav owls; outline eyes and nose with king's yellow, make 
brown eyes with white around them, paint face smoothly, and shade 
crown and chops with Naples yellow, and inside of ears with burnt 
umber. 

In painting Hirds and Storks, put rolls of paint <jn the stamped 
lines on wings, tail and body. When the head of one bird in a 
grouji comes ;igainst another, slnule the imder one dark ami the 
upper one light, so that it will show plainl\. .\ stoik should ha\e 
white rolls for feathers, and filled in between with white, shaded 
with grav. made by mixing black and white; reddish legs, yellow 
toes, and red beaks. 

In Paintillff on Plnsll, the paint nuist be ]nit on very Iighll\. 



working on the top of the nap, not allowing it to flatten down ; less 
paint is required for plush than for velvet or velveteen; when the 
rolls on any of these materials look rough and jagged, or the paint 
seems too thick, turpentine must be mixed with it before applying 
it, using enough to make the rolls look perfectly smooth. Plush 
on which to paint should have a short nap, as it is much more diffi- 
cult to do the work on the long napped plush 

This painting is very eff"ective on Satin, the only drawback to it 
IS that the oil is apt to spread a little on light, delicate shades; 
when painting on these, use the following precautions- cover the 
board with Canton flannel, and rub magnesia over it, then tack the 
satin tigh(*vover this; it is now ready to paint; when the paint is 
mi.xed, ready for use, place it upon a piece of blotting paper to ab- 
sorb the oil, do not make the rolls too heavy, nor put on too much 
paint. 

When Painting' on Felt, turpentine is not used, but if the 
paint is too thick, use megilp instead, which is put up the s:iiiie as 
the oil colors in tubes; if the pen catdies in the wool when paint- 
ing one way of the nap. turn and work the other way ; the back of 
the pen is less apt to catch than the front. 

MATERIALS NECESSARY. 
Faints, pen, palette, and knife, turpentine, and megilp for felt, 
hammer, and small tacks, or thumb-tacks; stamped material, and a 
board on which to tack it [it must be drawn over it smoothly, and 
tacked securely]. Colorado pens No. i are the best for wide daisy 
strokes, but for all other work Colorado jiens No. 2, or stone mica 
pens are much better. 



Medium Zinnober Greer 
Caledonian Brown. 



LIST OF PAINTS. 

Rove Madder 
Chinese ^*ermiIion. 



LIST OF PAINTS. 



Continuc<f* 



HOW TO MIX PAINTS ~ Continued. 



Burnt Sienna. 
Orange Chrome. 
King's Yellow. 
Burnt Umber. 
Crimson Lake. 
Scarlet Lake. 



Flake White. 
Ivorj Black. 
Naples Yellow. 
Yellow Ochre. 
Antwerp Blue. 
Megilp. 



The book entitled Kensington Embroidery and the Colors of 
Flo-Mers, with shade cai-d to go with it, will be found very useful in 
this work, as illustrations of a vaiietv of flowers are given, with a 
description and the proper color to be used for each part, with a 
number attached which refers to the shade card, and shows the 
shade in silk; it is a very easy matter to match this when mixing 
the paint. 

HOW TO MIX PAINTS IN-THE PREPARATION OF TINTS 
The Jirst-natned color always predominates. 

Mixing dark green and purple, makes bottle green. 

Mixing white and medium yellow, makes buff tint. 

Mixing red, black and blue, makes dark brown. 

Mixing bronze blue, lemon yellow and black, makes dark green. 

Mixing white, medium yellow and black, makes drab tint. 

Mixing white, lake and lemon yellow, makes flesh tint. 

Mixing lemon yellow and bronze blue, makes grass green. 

Mixing white and black, makes gray tint. 

Mixing white and purple, makes lavender tint. 

Mixing red, black and medium yellow, makes maroon. 

Mixing lake and purple, makes magenta. 

Mixing medium yellow and purple, makes olive green. 



Mixing medium yellow and red, makes orange. 

Mixing white, ultramarine blue and black, makes pearl tint. 

Mixing white and lake, niiikes pink. 

Mixing ultramarine blue and lake, makes purple. 

Mixing orange, lake and purple, makes russet. 

Mixing medium yellow, red and white, makes sienna. 

Mixing white and ultramarine blue, makes sky blue. 

Mixing ultramarine blue, black and white, makes slate. 

Mixing vermilion and black, makes Turkey red. 

Mixing white, yellow, red and black, makes umber. 

Mixing blue and yellow, makes green. 

Mixing blue and burnt sienna, makes green. 

Mixing green and purple, makes russet. 

Mixing green and orange, makes olive. 

SHADES FOR LEAVES. 
Green No. i and king's yellow. 
Green No. i and yellow ochre. 
Green No. i and burnt sienna. 
King's yellow and burnt sienna. 
Blue and yellow ochre, for apple leaves. 
White and rose madder or scarlet lake, for pink roses and light 

pinks. 
Scarlet lake and vermilion for poppies. Shade with crimson lake. 
King's yellow for yellow roses and buttercups. 
Crimson lake and vermilion for deep red roses and dark pinks. 
Burnt sienna, green and yellow for under side of rose leaves. 
Broken and turned leaves of yellow ochre. 

Wlieat: Clear Naples yellow for head, zinnober green mixed 
with yellow ochre for leaves. Shaile with burnt sienna. 



white and a little burnt uiiihei- mixed : tlien mix in occasionally all 
of the first named colors. 

Butterfly: Dark green lor body, yellow, black, red and blue for 
wings. 

Bird.s: Make three shades by mixing wliite, Naples yellow and 
burnt umber, very light shade for breast, little darker for head and 
body, and still darker for wings. Gray birds, burnt umber and 
white, red and yellow heads, yellow beaks. 



^ HAND PAINTING. 

DIRECTIONS FOR PAINTING ON SILK OR SATIN. 

In selecting silk or satin for painting it is very essential that >t 
be of a good quality. The color is another thing to be looked at. 
Do not commence on light blue or wine color, unless it is an extra 
fine piece of goods, for in nine cases out often, the oil will run and 
spoil the silk. 

If you find at anv time the oil is spreading, it is well to take the 
paint you are using from the palette, and spread it on a nice clean 
piece of blotting paper until the paper absorbs the oil. This done, 
take the paint from the paper and put it on the palette with the pal- 
lette knife, mixing in a few drops of turpentine ; turpentine will not 
soil the silk, or if it does, it will evaporate. 

Select your pattern. Take a piece of tracing paper, or linen is 
better, lay it over your design you have selected to paint from, trac- 
ing it all around with a hard lead pencil. Make the outlines as per- 
fect as possible. After this is done, lay the design you have on the 
tracing paper on the silk. Get it just where it is wanted, and then 
slip the impression paper under, with the colored side down on the 
silk. Mark it all around with the pencil ; remove the paper, and 
you have your design to begin painting. A much easier way is to 



use the Perforated Sta.mping Patterns; stamp the design the 
same as for embroidery, but use care not to get the lines too heavy. 

THE PAINTING. 

First rub the dust well off your palette ; then take from the tubes 
of paint what you think you will be likely to use, putting just a lit- 
tle of the paint on your palette. Select a brush (use your own 
judgment as to the size), and, with a little paint on it, put it on the 
flower, leaving the edges all smooth, and the impression all covered. 

Shade it with darker paint. Shading is one of the hardest things 
about painting, as you must be so careful about not shading too far. 
Your own taste must be used in this, if you have no pattern to work 
from. It is always best to have a pattern to work from, and make 
it just as near like the pattern as possible ; or what is better still is 
to work from a natural flower. 

THE COLORING. 

Perhaps it will be plainer if an illustration is used: for instance, 
a wild rose is the flower you wish to paint. The color is pink ; take 
a little of the rose madder you have on your palette and a little 
Cremnitz white, mix them together with the palette knife. Make 
it as near like the shade of your pattern as possible. Put the paint 
on the flower with a brush (say the No. 3) leaving the edges just as 
smooth as you can. Shade the flower with clear rose madder, be- 
ing careful not to cover too much of the light shade that is already 
on. Confine it to the shadows in the flower. The center is made 
in little dots (use the point of the brush for these) of chrome yel- 
low, with a few dots of green or burnt sienna. The leaves are made 
in the same way as the flower, using terre verte and chrome yellow 
for the green ; mix it as you did the rose madder and white for the 
pink. Shade it with terre verte, or, if it is a brownish green, use 
raw umber or burnt sienna. Stems are made the same Wiiy as the 



leaves, a little ivory black being used when thought best in some of 
the darkest places. 

Blue Flowers. — Forget-me-nots, etc, are made of permanent 
Wue and white, shaded with clear permanent blue. The center of 
a forget-me-not is a dot of chrome yellow and one of carmine. 

White Flowers are made of clear white, and shaded with a 
Tery little black. 

Red Flower.s. — Poppies, etc., are made of Chine.'ie vermilion 
and white, shaded with carmine. 

Yellow Flowers. — Buttercups, etc.. are made of chrome yel- 
low, shaded with the least bit of black. 

Pui'ple Flowers. — Violets, etc., are made of permanent blue, 
carmine and white, mixed together, and shaded with carmine and 
permanent blue. 

LIST OF MATERIALS USED IN OIL PAINTING ON 
SILK OR SATIN. 

Paints iWinsor e*c Newton's). — Cremnitz White, Chrome Yel- 
low, Terre Verte, Ra\v Umber, Burnt Sienna, Chinese Vermilion, 
Permanent Blue, Rose Madder, Carmine, Ivory Black. 

Brushes (American Sable, Nos. i, 3, 4 and 6); Palette; Palette 
Knife; Oil Cup; Turpentine; i sheet Tracing Paper or Linen; 
1 sheet Impression Paper. 

TO CLEAN THE PALETTE. 

After vou have finished painting, there is always some paint left; 
this you scrape ofFwith the knife, then pour a few drops of oil on 
the palette, and rub it with a rag until it looks perfectly clean. The 
brushes are cleaned with oil in the same way • first dip them in the 
oil, and then rub them on the cloth. It is well once in a while to 
■wash them in soap and water. 




I 



DESIGN FOR A TIDY M.\T. 

There is nothing to be said in reference to the design here illustrated, 
as the engraving shows the appropriateness for the purpose mentioned 
in the title. The sample is done in olive zephyr, with an outline of 
old gold silk fioss. Any other combination of colors may be used if 
lireferred. The main portion of the design is done in ordinary cross- 
stitch, but the outlining runs straight along the sides of the stitches, 
and aKo branches out between them in the manner illustrated in the 
engraving. 




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IT^STRXJCTIONS for STA^IVJ:PIISra- 



FOR STAMPING WITH PERFORATED PARCHMENT PATTERNS. 



DRY STAMPING.— This is done by a process known as pouncing. 
The process is as follows : — Place the pattern (rough side up) on the 
material to be stamped, placing heavy weights on the corners to 
keep it from slipping; then rub the powder over the perforations 
with the distributor till the pattern is clearly marked on the material, 
(this can be ascertained by lifting one corner of the pattern slightly). 
Then remove the pattern carefully, lay a piece of thin paper over the 
stamping, and pass a hot iron over it; this melts the gum in the 
powder, and fastens the pattern to the material. The iron should be 
as /w/ as possible ivifkoiii scorching the cloth. Should the heat 
change the color of the material, iron it all over. Do not do any 
stamping by this process on a hot or damp day if it can be avoided. 
Keep the powder in a cool, dry place. In stamping with light color- 
ed powders, the best way to fasten it is to hold the back of the cloth 
against a stove pipe or the face of the iron. French stamping is bet- 
ter, however, for all dark materials. To take the powder up on the 
distributor, have a tin plate with a piece of woolen cloth glued on the 
bottom, sprinkle a little powder on the cloth, and rub the distributor 
over it, taking care to shake oft' all the powder you can ; enough will 
remain to stamp the pattern clearly. 

DISTRIBUTOR. —To make a Distributor, take a block of pine 
wood, two or three inches square, and tack a piece of soft felt on one 
side of it. When the distributor gets worn, cover it over with a 
piece of soft felt; a piece from an old felt hat is just the thing. 

TO aiAIiE BLUE POWDER.— Take equal parts of pulverized 
gum damar and white rosin, and just enough Persian blue to color 
it; mix well together. The Blue Powde'r is for light goods; it will 
not work well on dark goods. 

lilGHT COLORED DRY POWDER — does not work well 
enough to give satisfaction. We make the Blue Stamping Powder 
only. Any goods that the Blue Powder will not work well on, use 



the French Indelible Stamping Paint; this must dry thoroughly hs- 
fore you work the design. 

FRENCH INDELIBLE STAMPING.— This is the best pro- 
cess for all dark materials, in fact, this and the blue powder are all 
that will ever be needed. By this process a kind of paint is used in- 
stead of powder, and a brush instead of a pouncet. Place the pattern 
on the cloth, smooth side up if you can, though either side will work 
well; weight the pattern down as in powder stamping. Rub the 
paint evenly over the perforations, and it will leave the lines clean, 
sharp and distinct. After the stamping is done, \.he pattern must be 
cleaned immediately : this is done by placing the pattern on the 
table, and turning benzine or naphtha over it to cut the paint, and 
then wiping the pattern dry on both sides with an old cloth, or, bet- 
ter still, with cotton waste, such as macliinists use to clean machinery, 
this is cheap and absorbs the paint and naphtha quickly; hold the 
])attern up to the light to see if the holes are all clear, if they are not, 
wash it the second time. Do not use the pattern for powder immedi- 
ately after it has been -vashed : let it dry a short time, otherwise the 
moistened gum will clog the perforations. 

TO MAKE THE PAINT.— Take zinc white, mix it with boiled 
oil to about the thickness of cream, add a little drying, such as paint- 
ers use. Get a painter to mi.x it for you. Keep in a tin pail (one 
holding a pint is a good size), have a piece of board cut round, with 
a screw in the centre for a handle, to fit loosely into the pail ; drop 
this on the paint and keep it from drying up ; add a little oil occa- 
sionally to keep the paint from growing too thick, and it will always 
be ready for use. 

THE BRUSH. — Take a fine stencil brush or any brush with a 
square end, wind it tightly with a string from the handle down to 
within one-half inch of the end, this will make it just stiff enough 
to distribute the paint well. Keep the brush in water, to keep it 
from drying up, taking care to wipe off the water before using. 

If these directions are carefully followed, the stamping will always be 
satisfactory. The great secret of success in this business is to fre- 
quently show new designs. 



LARD OIL is better to use in the Paint than boiled oil. We now furnish the Paint, all mixed, ready to use. See price on Order Sheet. 



HINTS TO STAMPERS. 

The table on which the stamping is done should be covered 
first with one thickness of felt or other soft cloth, and then with a sheet 
of enameled cloth drawn tightly and tacked at the sides to make a per- 
fectly smooth and level surface. In stamping plush, the nap should be 
rubbed up evenly before the stamping is done. In stamping repped .<ilk 
or other goods with an uneven surface on which the paint is likely to 
spread, first stamp the pattern on a piece of paper, then turn the pat- 
tern over and wipe off all the paint with a dry cloth, then stamp the 
material and the line will come out fine and even. The oil will some- 
times spread on some fine delicate silks, if it does so, let the stamping 
dry, then moisten the silk with naphtha and the oil will disappear. 

A good blank book, on which to stamp the patterns for customers 
to look at, can be made with the thinnest manilla tag board. It costs 
only a little more than paper, and wears very much better. Our new 
sample book, (price 15c.) can also be used to show customers. 

It is a good idea to pin the articles to be stamped to the table ; all 
creases and wrinkles can thus be drawn out, 

In stamping; with powder, finer lines can be made if the distributor 
is rubbed over the pattern only in one direction, that is not back and 
forth; but placing the distributor on the pattern, rub it across from 
left to right, then remove it from the pattern, and repeat the process. 

It is sometimes difiicult to make the powder stick on highly glazed 
linens; in such cases, the linen can be moistened slightly. It will be 
observed that it is necessary to have the iron much hotter to fasten the 
color on linen than on cotton or flannel. 

Beginners generally get the paint too thin. It is a good idea for 
beginners to practice on some old materials. 

Never use a hot iron for paint stamping. 

The patterns should not be rolled or folded, but laid flat in boxes 
or within covers. 

The secret of success in the stamping business is to frequently 
show new patterns which we can always supply. 

KENSINGTON PAINTING. 

Stamp the design on the material to be painted, the same as for 
Kensington embroidery. Velvet is best to use for Kensington Paint- 
ing. When painting on silk or satin, first put the oil paint on blotting 
paper to absorb the oil. Use oil paints same as used in oil painting. 
First apply the paint thickly over the outline of the pattern, then take 
a pen (^No. 2 Colorado Pen is a good pen to use), and draw the paint 
down towards the center of the flower in imitation of the Kensington 
stitches. Shade as in ordinary painting, using the pen only. Another 
way is to scoop up the paint on the pen, and apply to the material in 
imitation of the Kensington stitches. 

Apply the colors thick, but use care not to destroy the nap of the 



material. Sew the material to be painted to paste board to keep it 
firm. Our New Book, Kensington Embroiderv and the Colors oj 
Flowers, will give you the correct colors and shades to use in painting 
the flowers. See sample pages in this book. 

BLACK PAINT FOR STAMPING LIGHT GOODS. 

This must be used with great care. If you are not going to make- 
a business of stamping, use the Powder. This Black Paint can be used 
in place of the Blue Powder, but if the material to be stamped is to be 
washed, or is a delicate color, you had better use the Powder, as the 
Paint will not wash out. 

To make the Black Paint, take pure coach black, ground in oil, 
(you can buy it in small cans). Add a little drying, not too much, as 
it wants to be used thick. Do n' t put any oil into it! Apply with a 
brush. You should have a brush for each Black and White Paint. 
The Black Paint does not want to be as thin as the White Paint. After 
using, wash the pattern with naphtha. Keep the naphtha away from 
the fire ! 

TO MAKE A SUCCESS OF STAMPING, 
Read carefully these Instructions Jor Stamping. The powder is to be 
used for light goods. // luill not ivork well on dark goods. Use the 
Paint (see Instructions) for dark goods. The Paint cannot be sent by 
mail. If you have never done any stamping, practice first with the 
Powder on some pieces of white cloth. Tissue paper is best to lay 
over the pattern when you use the iron. 

INDELIBLE WHITE PAINT, 

Used for stamping dark goods, felt, plush, etc. As some of our 
customers have not been able to get the Paint mixed so that it will 
work right, we have decided to have it put up. The paint is put up in 
paint-tubes. We send two tubes of the Paint, all mixed, ready to use, 
and the Brush, by express, for $1.00; two tubes of the Paint, without 
the Brush, for 60 cents, by express. This Paint cannot be sent by 
mail, must be sent by express; the person ordering it pays the ex- 
press charges. 

BRUSHES FOR PAINT STAMPING. 

We have had some Brushes made expressly for Paint Stamping. 
They are made good and stiff, and are all ready to use without any 
winding. Price, 50 cts. by mail, or two tubes of Paint and the Brush, 
by express, for $1.00. 

BLUE POWDER. 
The Blue Powder is to be used for stamping light goods. {Read 
Instructions.) It ■u.-ill not -work -well on dark goods. Price of Blue 
Powder, 20 cents per box, by mail. Distributing Pads, 10 cents. 

8^^ We do not make or sell White Powder. Use the Paint for 
staniping dark goods. 




iiiiiii^^ 




FANCY STITCHES. 



THREAD-AND-NEKDLE CASE. 



Thread-and-Needle Case. — This useful little case is made 
of ecru linen, cut in the desired shape and bound with bright 
red braid. A small, straight piece, bound in the same way, is 
stitched on with red silk, allowing sufficient fullness in each sec- 
tion for the skeins to pass under. Several leaves of red flannel, 
prettily pinked, are at one end to hold the needles. The case 
rolls up and is tied with strings of ribbon or braid. 

Sachet and Pin Cushion. — This pretty cushion is made of 
scarlet satin, and finished around the edges with a box-plaiting 
of Languedoc lace. Just above this, on the upper side, is 
flatly applied a bordering of lace, looking well on the rich back- 
ground. In the upper left-hand corner, the satin is turned back. 
showing a corner of yellow satin, on which is painted a spray of 
flowers. Ladies not understanding the use of the brush, can 
transfer a decalcomanie picture to the place where it is needed. 
.In order to make this pin cushion and sachet case, it will be 
necessary to put a layer of cotton, on which some favorite pow- 
der has been thickly spread, next to the top. Heliotrope, 
Violet, Jockey Club and Musk are all desirable in sachet 
powders. If preferred, darned lace may be used instead of 
the Languedoc. 







sachet and pin cushion. 




TIDY OF RIBBON AND LACE. 



Tidy of Ribbon and Lace. —This engraving illustrates a 
beautiful tidy for a chair, sofa-pillow, cushion, etc. The centre 
is made of ribbon, in three different widths and colors. The 
ribbon is all of the brocaded variety, but, if desired, it may be 
of plain satin, embroidered or hand-painted. The strips are alt 
joined together with over-and-over stitehes on what is to be the 
wrong side of the tidy, and arranged with the widest outside, the 
ne.\t width at the centre, and the narrowest between. These 
joined strips are then bordered with a row of the medium wide 
ribbon, and outside of this is sewed a row of handsome lace. 
The lace may be of any preferred variety, the kind known as 
antique, which is really the regular Smyrna lace, being much 
preferred, as it is very rich in effect. 







^ vvv.v ' 



Toilette Set for a Birf.ai . — Tlic.-c two cn,t;i:n inj;s ix-piesent a fancv cushion ana 
•one of a pair of covered toilette-bottles to niateh. wliich are intended to dress a guest-clianiber 
bureau. The covers are made of satin, one color being used for one-half, and the other for 
the other half of each cover. The bottlo-cover is made so as to fit the bottle tightlv by an up- 
right seam at a point opposite the embroidery seen upon the front. The lower edge is turned 
utider so that it completely conceals the bottle, but does not cover the bottom : and the top is 
ed"-ed with lace, and then tied about the neck of the bottle with cord, so as to form a ruffle. 
The cluster of flowers may be embroidei-ed or painted on, and the bow of ribbon is altaclied 
afterward. The colors of the satin may be blue, cardinal or olive combined with old-gold, or 
any of the daintier contrasts considered especially appropriate for fancy work. 

The cushion is first made of stout nuislin, and filled with bran, saw-dust, ground-cork, or 
an\- similar material, and then covered with the satin. The top shows the two shades in two 
equal parts, but the under side is of one shade only. The embroidery or painting is done in 
the same wav as on the bottle-cover, and tlie bow is added to correspond. The edge ot the 
cushion is bordered with twisted cord, and tassels are fastened to knotted cord at eacli corner. 





FANCY CUSHION FOR TOILETTE SET. 



COVERED TOILETTE BOTTLE. 



Square of Patchwork for Tor of Sofa-Pillow. — This 
square of patchwork illustrates the Japanese effect in the peculiar 
management of its uniformly shaped pieces, and the mosaic or 
crazy effect in the brilliancy of its coloring and the variety of its 
stitches. Every variety of known fancy stitch is used in applying 
and embellishing the sections, and also in decorating the triangular 
spaces. Velvet and plush for the sections, and satin for the back- 
ground, make a handsome combination. Velvet, plush or silk in 
conti-asting shades also results beautifully. Before cutting velvet 
or plush, it is best to cover the back with a thin layer of mucilage, 
shellac, white of egg, or some other gummy substance, and allow it 
to dry well. This prevents the material from fraying. 

Fancy Patchwork, with Di.igrams for its Construction. 
— A very pretty design for patchwork of velvet, silk or satin com- 
bined, or of either of these fabrics in three strongly contrasting 
tints, or of any other pretty materials, is illustrated by figure No. 2 ; 
and the shape and size of the sections required for making it are 
clearly portrayed by diagrams A, B and C. Six sections of the size 
and shape shown by diagram A are required for the star, the sec- 
tions being joined together at their shortest sides. Six squares of 
the size shown by diagram B are joined to each star, with a corner 
to come at the top of each star seam. To the loose edges of the 
squares are joined six diamond-shaped pieces, cut like diagram C, 
the union of these pieces producing an almost circular shape. A 
similar number of star sections and squares are joined in the 
same manner for the next figure, to which only five diamond- 
shaped pieces are sewed, one of the diamond pieces from the first 
figure being joined at its loose edges to the squares having no 
diamond piece attached. The next figure is made in the same way, 
but with only four diamond pieces attached, two of the diamond 
pieces to the loose edges from the two attached figures being joined 
at their loose edges of the squares. The latter process is repeated 
throughout till the patchwork is of the required size. 




StyARE OF PATCHWORK FOR TOP OF SOFA-PILLOW. 




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FANCY PATCHWORK. 




POINT RUSSE PATTERN. 




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APPLIQUE HORSE-SHOE. 




AppLicy;i'; Horse-Shoe. — The horse-shoe 
may be of cloth, felt, flannel, silk, plush, 
satin, velvet, or any of the materials in use 
for such purposes. This one is of pale blue 
felt, and is applied with yellow silk iloss ; the 
nails, top and ends of the shoe being done in 
satin stitch, while the outlining is in the 
ordinary cross-stitch. For covers, chair- 
scarfs, lambrequins for tables, baskets, man- 
tles or shelves, this will be found a pretty 
design. It may also be utilized for many 
smaller articles, such as shoe-bags, whisk- 
cases, wall-pockets, etc. It is specially suit- 
able for the corners of linen lap-robes for 
driving. 



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APPLI<yj£ HORSE-SHOE. 



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ILLUSTRATIONS OF STAMPING PATTERNS. 






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Tlie Perforated Parchment Stamping 

PATTERNS. 

» 

(lie any Stampiniv'' 1( you have not, you sliovild first 
secuic .1 siA.MPING OUTFIT. Ifyou have, jfou should send 15c. 

OUR CATALOGUE; 

It has ovlt 1 700 Ilhistratioiis of7\'e7i' and Choice Slamphif;; Pat- 
\ terns for Kensington, Outline, and Rococo Embroidery, Kensing- 
.•ton and Liistro Painting, Braiding Patterns, Alphabets, Mono- 
tgrams, etc. Price 15 cents. 

OUR INSTRUCTION BOOK gives full directions for Dry and 
Wet Stamping, tells how to make the Powder and Paint; also gives 
' Instructions for Kensington, Lustro and Hand Painting. Price 15c. 
SPECIAL OFFER . — T/iese ^ Books far 20 cents. 



New Stamping Outfit. 



<o Stanipiii;,; 
t (26 letters) 
ITF.RNS, l)e- 



Wlth this Outfit you can do your ow 
("or others. Our New (JuTFiT has a C<' 

for Hat Hands, Napkins, etc. Also 35 . ■ r.i\j>a, i^,;- 

signs of Daisies, Roses, Bouquets, Outlines, .Sirips, Scallops, Vines, 
ftc. Price List of Floss, Aracine, Clienille, Silk, etc., 15c. A 
Felt Tidy and Iniported Silk to work it. Iiiftructioii Bonk and Bid 
CATALOGUE (mentioned above) containg over 1700 Illustra- 
tions. We send this Outfit by mail for $1.. 

Extra Siampinir Patterns: — Morning Glories, loc. Apple 
Blossoms, 10c. Sheaf of Wheat, I i;c. Cluster of Strawberries, im. 
Forget-me-nots, 15c. Calla 1-ily, i^c. Pansits, 15c. Pond Lilies, 
t5c. Outline Design, toe. Golden Rod and Asters, 15c. Sprig of 
Sumac, t5c. Poppies, 15c. Woodbine, 1.5c. 

SPECIAL OFFEE : — EverytUins in this advertisement loi 

ijsa.oo. 

We give on preceding four pages — sample (Viges — from o 
CatuliiL;uc o( Stamping Patte; 



ur bii 



INSTRUCTIONS FOR PATCHWORK 

OurNKW PATCHWORK BOOK contains 40 Point Ku.->c ,>.,„ 
,Snow Flake Stitches, also a variety of Fancy Patterns. Price, 16 
tents; 5 for 50 cents; lH for l.OO. 



NEW BOOK OF 

TIDY i POINT RUSSE 

PATTERNS. 

THIS NEW BOOK contains Patterns for 
Java Canvas, Darned Lace, and Twine Cro- 
CHBT Tidies, also Point Russb Patterns for 
Java Canvas Toilet Sets, Crazy Patchwork, 
etc. We send this book by mail for 25c. ; 8 for $1. 

BOOK OF FANCY WORK 



INSTRUCTIONS FOR STAMPING. 



A NEW BOOK! giving full Instructions for Dry «nd We 

Stamping. Tells how to make Stamping Powder; how to mix 
White Paint for stamping dark goods, and Black Paint for stamping 
light goods. Gives Hints to Stampers; contains Illustrations 
of our Stamping Patterns; has Sample Pages and Patterns from 
our different Fancy Work Books ; and gives Instructions for Ken- 
sington, Lustra and JIand Painting, and///// information about the 
goods we have for sale. Price of this Book, 15 cents. 



Address all Orders to J. F. INGALLS, Publisher, 29 lunroe St, Lynn, lass. 



Hsadquarters for Ladies' Fancy Work. 

F/INCY •:• W6I^K : B00K3, 

Perforated Stampinj,^ Patterns, 

FELT AND LINEN STAMPED GOODS 

l^.'inc\- \Vorl< ]VIaterials. 



(m; 



OCULARS 



NEW BOOKS ^^ NEW GOODS 



ll'vou do not need anvlliinrj in our line /«.«/ nozv, nnil wish us Ir> 
Veop you posted as we get out New Books ami Nk\v ncioi>->. '..-ml 
MS yaur /nil atfdiess on a Postal; also, wrii 

■ D 10^ — 



SPECIAL BOOK OFFER. 

NEW BOOKS! NEW EDITION^' 
NEW PATTERNS! EXTRA PAdESI 



Tngalls" Manual ok 

(So Extra Pages) .... . .I'lico. 

Kknsingtojj Embroidery ot.ors of 

Floweus , Prii-.c, 

Inyalls' Hanubook of Crochet and Knitted Lack. JVew 

Edition (Extra Pages) Price, 

Book of Darned L.\ce Patterns. ( ^ferj Edition) Price, 

Book of IxsiRucTioN.s POR Patchwork Price, 

Book of Macramic L.^CEand Rick-Rack TuiMMisfi . Prl.e. 
i5ook of Worsted Cross-Stitch Patter- 

Edition (Extra Pifges) . . .... : ii.c. 

Nfw Book of Tidy and Point Rvsse Pattci I'rice, 

New Book of Fancy Work ' ^rRi<TioNs for 

Stamping , . . Price, 

Retail Price of these O Books . $2, 



;;<; 



•A~i . 1 



I' 

30 as. 

25 as. 
l."» as. 

1.- as. 



2r> as. 
21. 



SPECIAL OFFER: — We will send you theseO Books by 
mail, postage paid, for Jjil.OO and fii<e 2-<S. stamps. Scn<l for 
.-ill and sell those you don't want at the retail prices. 

F'or full de.scriptions of these Books, please read the Advcrtinr- 



Address all Orders to J. F. INGALLS, .29 Munroe Street, Lynn, Mass. 












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